The comprehension
of multiple lessons in a short time period may be very demanding, what’s more
stressful, for my students, especially when I’m trying to introduce thus
explain completely new definitions never heard before.

But now I can
guarantee that once you comprehend, you’ll feel entirely comfortable with your
knowledge!

As a matter of
fact, basic scales are part of an infinite scale consisting of three-note
groups, in other words trichords.

Fitting these parts together you can get a giant, infinite scale structure.

a combiniation of Mirror Images demonstrating a 84-string (!) guitar
neck with all fourth tuning.

Here are the three
types of trichords, with the combination of which all seven basic
scales can be produced:

Major trichord

Minor trichord

Phrygian trichord

The infinite scale
can be started from any desired note on the fretboard. However, it’s worth
starting the scale from the lowest note so that all notes even at the higher
can be visualized on the fretboard. The mirror image below suggests a scale
start with a major scale, on the upmost string. The scale carries on to the
next string downwards, pitch wise upwards.

Please note: the
starting note, say it’s a C, is not relevant at all as the scale structure
remains the same regardless of you start it from whichever note.

(Bear in mind that
the string thicknesses are not relevant here)

Virtually, 11
strings are enough to fully visualize the structure of the seven basic scales.

The order of the
basic scales from upwards to downwards (repetitions highlighted)

1. Major

2. Lydian

3. Locrian

4. Phrygian

5. Minor

6. Dorian

7. Mixolydian

8.Major

9. Lydian

10. Locrian

11.Phrygian

12.Minor

13.Dorian

14.Mixolydian

15.etc.

The key characteristic of this giant scale structure is that a there is always
an interval of a fourth between each strings, which makes all seven fourth
intervals to appear as a vertical line on the mirror image fretboard, as per
the below figure.

Practically, the giant scale structure can only be formed using this small
scale fragment. Besides, there is another systematic piece of structure here,
which consists of six augmented fourths, making it look like it’s stretching
ahead angularly. What’s more, it seems to bear all the scales, since all
scales figuratively adhere to it from either upwards of downwards. I would
call it an ‘adhesive tape’.

There are also certain groups of fourths connecting to these ‘adhesive tapes’
in a systematic way, six of them to each, following each other in the sequence
below:

(the arrows indicate the orientation of each
fourth-group)

↑ ↓ ↑ ↓ ↑ ↓

There is obviously a question here as to how this infinite scale structure
would be affected if the interval between strings G and B were not a fourth
but a high third (as standard tuning). As a matter of fact, the interval
between a high third and a fourth only takes a half-note. This interval would
shift the scale a half-note rightwards on the corresponding string and
consequently on the subsequent strings, meaning that on 6-string guitar only B
and E1 strings would be affected. Here is the figure illustrating the
difference between all-fourth tuning and standard tuning:

If we compare the above figure with the major scale, it is out of question we
are talking about the same scale,...